我们颠三倒四，万物复苏。
We are topsy-turvy, all things revive
艺术家 : 范西、季炜煜、沈同舟、杨豪
Artists：Fan Xi, Ji Weiyu, Shen Tongzhou, Yang Hao
策展人 Curated by: 赵欣昕 Zhao Xinxin
展期 Duration: 2026.04.03—2026.04.30
开幕 Vernissage: 2026.04.09, 15:00—19:00
Vanguard 画廊将于4月3日呈现春季群展“我们颠三倒四，万物复苏”，此次展览将聚焦于范西，季炜煜，沈同舟和杨豪四位艺术家的实践。
又是一年，泥土解冻，生命从疲惫、昏沉和厚重中回过神来。这样的时刻并不壮观，它更接近一种迟缓的松动：结构失效，边界软化，事物在既定的位置上轻微地偏移。新闻与旧闻同样令人不知所措，我们在忽然变暖的风里发懵。秩序不停更新，意义纷纷断裂，每一秒都有智能在生长，世界摇晃着抽出嫩芽。身体和意识在颠倒错位中好奇地摸索和感知。一片嗡嗡作响的，惬意的混乱。
Vanguard Gallery is pleased to present “We Are Topsy-Turvy, All Things Revive,” a spring group exhibition focusing on the recent practices of Fan Xi, Ji Weiyu, Shen Tongzhou, and Yang Hao.
Another year turns. The ground thaws, and life reawakens from fatigue, dullness, and weight. This is not a spectacular moment, it is closer to a slow loosening: structures falter, boundaries soften, and things begin to slip, ever so slightly, out of place. News and old news alike leave us disoriented. We stand, dazed, in the suddenly warming air. Order keeps updating, meaning fractures as it forms—at every second, new forms of intelligence emerge, and the world trembles as it draws out its first shoots. Body and consciousness, misaligned and inverted, grope and sense their way forward. A low, humming, almost gentle disorder.
杨豪 Yang Hao
窗外，天空，2025
Drive to nowhere
木板油画
Oil on wood panel
40 × 40 cm
杨豪的画中，碳基生物的躁动气息反而让人心安。他描绘着介于白日梦与现实之间的鲜活世界。飞驰的出租车、醉酒后的呕吐、自投罗网的鱼、绿指甲……这些意象相互映照又彼此脱节，车、船、镜子和马桶都是“我”暂时的停靠点，抽屉像意识的横截面般被打开，存纳着梦想与欲望的片段。
In Yang Hao’s paintings, the restless pulse of carbon-based life feels, unexpectedly, reassuring. He conjures a vivid world suspended between daydream and reality: speeding taxis, drunken vomiting, a fish that deliberately swims into a net, green fingernails… These images echo one another while refusing to cohere. Cars, boats, mirrors, and toilets become temporary docking points for the “self,” while drawers open as cross-sections of consciousness, holding fragments of dreams and desire.
季炜煜 Ji Weiyu
马桥镇的早春风景
Early Spring Landscape of Maqiao, 2025
UV打印于亚克力上
UV print on acrylic panel
150 × 440 × 1.5 cm
季炜煜的创作过程充满分裂与重生的趣味。在以摄影为起点的实践中，图像失去原有的视觉结构与记忆链接，被切割为新的单元，并在新的图像关系中，如皮肤般有机生长。《图景—守门人》中大漆材料的使用，让面目模糊的古老雕塑在多次刮印、显影后焕发出神秘的光泽。图像因此不再指向外部世界，而成为一个在结构与材料之间脱胎换骨、自我演化的系统。
Ji Weiyu’s practice unfolds through a certain pleasure in division and regeneration. Beginning with photography, his images lose their original visual structure and mnemonic ties. They are cut into discrete units and set into new relations, where they grow organically, like skin. In Image Field ：The Gatekeeper, lacquer brings a further shift: the blurred face of an ancient sculpture emerges through repeated scraping and printing, acquiring a subdued, enigmatic sheen. The image no longer points outward. It becomes instead a system in transformation, shedding and re-forming between structure and material.
范西 Fan Xi
停留，2024
Pause
青铜、烤漆、手工蜡烛
Bronze, lacquer, handmade candle
30 × 56 cm
如果说季炜煜的图像还维系着表面的完整和新的秩序，范西则让图像和材料更彻底地变身。面孔与书页像脑海中闪回的风景碎片般交叠，又在转念间分崩离析。她以园丁式的植物扦插与繁殖逻辑摆弄蜡与相纸，不同材料被妥善地嫁接，在适当之处截断，又在另一处悄然接续。蜡烛融化的可能性让时间也参与塑造，物质在转化中此消彼长，肉眼可见的损耗以另一种形式顽强存在。
If Ji’s images still retain a surface coherence, a newly assembled order, Fan Xi moves further toward transformation. Faces and pages overlap like fleeting fragments of inner scenery, only to fall apart in the next instant. Working with a gardener’s logic of grafting and propagation, she handles wax and photographic paper: materials are joined with care, cut at certain points, and quietly continued elsewhere. The candle’s capacity to melt entangles time in the process of formation. Matter shifts, wanes, and gathers. What appears to be loss persists stubbornly in another form.
沈同舟 Shen Tongzhou
春游，2024
Spring Outing
2K单屏影像、彩色、立体声
2K single-channel video, color, sound
17' 14”
“颠倒”在沈同舟的工作中找到了另一种回路。网络不是逃逸的出口，更像一个持续运转的界面，将现实不断拆分、回传。个体经验在其中被复制、延迟与替换，并被压缩为可传输的片段，再以不同的形式返回现实。虚拟与现实就这样以不同的密度相互渗透。
This state of topsy-turviness finds yet another circuit in Shen Tongzhou’s work. The network is not an exit, but an interface in continuous operation, disassembling and relaying reality. Experience is copied, delayed, replaced—compressed into transmissible fragments, only to return in altered forms. The virtual and the real no longer stand apart. They permeate one another, as if differing only in density.
杨豪 Yang Hao
爸爸，妈妈，再见，2025
Farewell at sea
木板油画
Oil on wood panel
50 × 50 cm
在这些不同的实践路径之间，并不存在清晰的边界，它们通过各自的方式削弱结构的稳定性，使过程本身得以显现：意识的游移，图像的重组，嫁接与转化，信息的交错。混乱或许意味着一种必要的偏差：感知被重新校准，事物脱离既定的排列，进入尚未命名的区间。这些看似分散的实践，构成了一种隐约的共识：我们所面对的，从来都不是一个成熟稳妥的世界，而是一个正在被拉开的抽屉。
Across these practices, no clear boundary holds. Each, in its own way, loosens the authority of structure and lets process come to the surface: the drifting of consciousness, the reworking of images, acts of grafting and transformation, the crossing of information. Disorder, perhaps, marks a necessary deviation—a recalibration of perception. Things slip from their assigned order, entering zones yet to be named. What emerges from these seemingly scattered gestures is a quiet alignment: we are not facing a stable, fully formed world, but one still in the act of opening—like a drawer being drawn open.
撰文：赵欣昕
Written by: Zhao Xinxin
可持续合作伙伴 Sustainable Collaboration Partner
关于艺术家 ABOUT THE ARTISTS
范西 Fan Xi
范西在2009年毕业于中央美术学院雕塑系，现生活工作于北京。范西注重物体与物体、空间及人的关系，通过揭示这种“关系性”创造新的切入点，组成新的层次，从而消解“物”的原有概念。她通过“物”探索虚幻与真实的当代意义，形成物体对状态、关系、状况、时间等非对象性世界的关注。在其长期艺术实践中，范西致力于探索空间距离及心理距离对感知经验造成的复杂影响，以摄影、影像、雕塑、装置等形式质询日常经验、虚构创作与多种纷杂时间的关系。
部分展览：“我们颠三倒四，万物复苏。”，Vanguard 画廊，上海，中国（2025）；“谁在歌唱”，CLC画廊，北京（2024）；“模仿游戏”，Fotografiska Shanghai，上海（2023）；“Again, With Photography”，第九届大邱摄影双年展，大邱；“瀑布”，LIUSA WANG画廊，巴黎（2023）；“化作通变”，广东美术馆，广州（2023）；“诱惑”，香港巴塞尔，香港（2022）；“出走！中国当代艺术中的女性身份”，利勒哈默尔美术馆，挪威（2022）；“The Dream Site”，PTT空间，台北（2021）；“汲物之思”，金鹰美术馆，南京（2021）；“别样的时间”，华侨城盒子美术馆，深圳（2021）；“异化的自然”，塞万提斯图书馆，上海（2021）；“散步”，云美术馆，深圳（2021）；“范西：5m以内”，CLC画廊，北京（2021）；“范西：几点开船？”，广东美术馆，广州（2020）；“范西：L的客厅”，埃尔兰根-纽伦堡孔子学院艺术空间，纽伦堡（2020）；“后浪”，上海摄影艺术中心，上海（2019）；“PEER TO PEER”，Open Eye Gallery，利物浦（2019）；“拼拼凑凑的利维坦”，Luhring Augustine，纽约，Bridge Projects，洛杉矶（2019，2020）；“祝你拥有美好的一天！”，北京市东城区柏树胡同15号105室，北京（2019）；“日落之后”，LIUSA WANG画廊，巴黎（2018）；“范西：位置”，LIUSA WANG画廊，巴黎（2018）；“日落将至”，泰康空间，北京（2017）；“范西：还原的象”，杨画廊，北京（2016）；“黑侏儒／下”，星空间画廊，北京（2014）；“黑侏儒／上”，星空间画廊，北京（2013）。
Fan Xi graduated from the Sculpture Department of the Central Academy of Fine Arts in 2009 and currently lives and works in Beijing. With a particular interest in the relations between objects, space, and people, she attempts to reveal such relationality to create new points of entry and construct new layers, thereby deconstructing the original concept of “objects.” She uses objects as a vehicle to explore contemporary meanings of fantasy and reality, extending their engagement toward a non-object world encompassing states, relationships, situations, and time. In her long-term practice, Fan Xi explores the complex impact of spatial and psychological distance on perceptual experience. Working across photography, film, sculpture, and installation, she examines the interwoven relationships between everyday experience, the production of fiction, and heterogeneous temporalities.
Selected exhibitions: "We are topsy-turvy, all things revive", Vanguard Gallery, Shanghai, China(2025); “Who is Singing”, CLC Gallery Venture, Beijing (2024); “Simulation Play”, Fotografiska Shanghai, Shanghai (2023); “Again, With Photography”, 9th Daegu Photo Biennale, Daegu; “Waterfall”, Gallery LIUSA WANG, Paris (2023); “Symphony of All the Changes”, Guangdong Museum of Art, Guangzhou (2023); “Temptation”, Art Basel Hong Kong, Hong Kong (2022); “Stepping Out! Female Identities in Chinese Contemporary Art”, Lillehammer Kunstmuseum, Norway (2022); “The Dream Site”, PTT Space, Taipei (2021); “In the Midst of It All”, Golden Eagle Museum of Art, Nanjing (2021); “Alienación de la Naturaleza”, Biblioteca Miguel de Cervantes, Shanghai (2021); “Stroll”, Cloud Art Museum, Shenzhen (2021); “Within 5m”, CLC Gallery Venture, Beijing (2021); “When to Sail?”, Guangdong Museum of Art, Guangzhou (2020); “L’s Living Room”, Confucius Institute Nuremberg-Erlangen, Nuremberg (2020); “PEER TO PEER”, Shanghai Center of Photography, Shanghai (2019); “PEER TO PEER”, Open Eye Gallery, Liverpool (2019); “A Composite Leviathan”, Luhring Augustine, New York; Bridge Projects, Los Angeles (2019/2020); “Have a Nice Day!”, Room 105, No. 15 Baishu Hutong, Dongcheng District, Beijing (2019); “After Sunset”, Gallery LIUSA WANG, Paris (2018); “Le déplacement”, Gallery LIUSA WANG, Paris (2018); “Bad New Days Ahead”, Tai Kang Space, Beijing (2017); “Reduction of Image”, Yang Gallery, Beijing (2016); “The Black Dwarf / Part 2”, Star Gallery, Beijing (2014); “The Black Dwarf / Part 1”, Star Gallery, Beijing (2013).
季炜煜 Ji Weiyu
季炜煜1980年出生于上海，毕业于上海市工艺美术学校。2004年共同创立艺术小组“鸟头”(Birdhead)。目前工作及生活于上海，近期个人创作聚焦于摄影媒介的解构与逻辑重组。
部分展览：“我们颠三倒四，万物复苏。”，Vanguard 画廊，上海，中国（2025）；“欢迎再来鸟头世界，源 - SOURCE”，京都国际写真祭，京都，日本（2024）；“鸟头：云云”，UCCA沙丘美术馆，阿那亚，中国（2024）；“摸着石头过河”，迪里耶当代艺术双年展，迪里耶，沙特阿拉伯（2021）；“海浪”，上海当代艺术博物馆，上海，中国（2020）；“生活城市”，泰特现代美术馆，伦敦，英国（2017）；“意象无限”，巴塞尔艺术展，巴塞尔，瑞士（2016）；“第六届莫斯科国际当代艺术双年展”，莫斯科，俄罗斯（2015）；“新摄影”，纽约现代艺术博物馆（MoMA），纽约，美国（2012）；“重新发电——第九届上海双年展”，上海当代艺术博物馆，上海，中国（2012）；“光国”，第54届威尼斯双年展主题展“ILLUMInations”，威尼斯，意大利（2011）；“艺术家档案”，东京国家艺术中心当代艺术年展，东京，日本（2011）；“中国发电站：第二站”，Astrup Fearnley现代美术馆，奥斯陆，挪威（2007）。
Ji Weiyu born in 1980, graduated from Shanghai School of Arts and Crafts. Lives and works in Shanghai. In 2004, co-founded the artist collective Birdhead. Focusing on the deconstruction and logical restructuring of the photographic medium in recent solo practice.
Selected exhibitions: "We are topsy-turvy, all things revive", Vanguard Gallery, Shanghai, China(2025); "Welcome to Birdhead World Again, Kyoto 2024", Kyotographie — Kyoto International Photography Festival, Kyoto, Japan (2024); "Birdhead: Yun Yun", UCCA Dune, UCCA Center for Contemporary Art, Aranya, China (2024); "Feeling the Stones", Diriyah Contemporary Art Biennale, JAX District, Diriyah, Saudi Arabia (2021); "Wave", Power Station of Art, Shanghai, China (2020); "Living Cities", Tate Modern, London, United Kingdom (2017); "Art Unlimited", Art Basel 2016, Basel, Switzerland (2016); "The 6th Moscow International Biennale of Contemporary Art", Moscow, Russia (2015); "New Photography 2012", The Museum of Modern Art (MoMA), New York, United States (2012); "Reactivation — The 9th Shanghai Biennale", Power Station of Art, Shanghai, China (2012); "ILLUMInations", Thematic Exhibition of the 54th Venice Biennale, Venice, Italy (2011); "Artist File 2011", The National Art Center, Tokyo, Japan (2011); "China Power Station II", Astrup Fearnley Museum of Modern Art, Oslo, Norway (2007).
沈同舟 Shen Tongzhou
沈同舟（b. 2003，江苏），现工作、生活于杭州与网络。因父亲是一位电竞职业选手，从小就在电子游戏与电子设备的包围中长大。对他来说任何在电子设备上的操作，不管是游戏、软件还是其他数字媒介，都是一种游戏。他持续关注每一个新的当下人们会如何记录和看见一件事，并探索软件内部的虚拟空间、软件对外部现实的处理与生成，同时设置条件，实验人类与机器、网络之间的互动。他多使用绘画、影像与空间布置营造具有代入感的场所，引导观者发掘渗透身边的潜在因素。
部分展览：“我们颠三倒四，万物复苏。”，Vanguard 画廊，上海，中国（2025）；“？”，automatism studio，上海，中国（2025）；“正午、荒原、息流、瓦舍、废墟、剧场”，上海当代艺术博物馆（PSA），上海，中国（2025）; “HYPERHOOD 附近分子”，马丁戈雅生意，杭州，中国（2025）；“Love Letter in Transit”，Graffik Gallery，伦敦，英国（2025）；“未知向量&21m2”,铜场T-Project，杭州，中国（2025）；“QUANTUM ENTANGLEMENT”，当代艺术调查局 ABI SPACE，杭州，中国（2025）；“念念之地”，德清当代艺术中心，德清，中国（2025）；“Meme to Jam”，X sign space&BRITA 131，杭州，中国（2025）；“开到0 Kaleido 0”，AMPL 泥鳅美术馆，丽水，中国（2024）；“Unlimited Space”，IDEA4MI gallery，米兰，意大利（2024）；“算命先生”，想象力学实验室，杭州，中国（2024）；“制度的棕鼻者：艺术家的恶欲害死了自由艺术”，三角洲 The Delta godown，杭州，中国（2024）。
Shen Tongzhou (b. 2003, Jiangsu, China) currently works and lives in Hangzhou and online. As his father was a professional e-sport player, he grew up surrounded by video games and electronic devices. For him, any operation on an electronic device—whether gaming, software, or other digital media—constitutes a form of play. He maintains a focus on how people in each new present moment record and perceive events, and on how digital information flows serve as a new kind of natural environment. He explores the virtual spaces within software, the processing and generation of external reality by software, while also setting conditions to experiment with interactions among humans, machines, and the internet. He primarily uses painting, video, and spatial installations to create immersive environments, guiding viewers to uncover the latent factors permeating their surroundings.
Selected exhibitions: "We are topsy-turvy, all things revive", Vanguard Gallery, Shanghai, China(2025); "?", Automatism Studio, Shanghai, China (2025); "Noon, Wildness, Stream, Washe, Ruins, Theater", Power Station of Art, Shanghai, China (2025); "HYPERHOOD", Martin Goya Business, Hangzhou, China (2025); "Love Letter in Transit", Graffik Gallery, London, UK (2025); "Unknown Vector" & "21m²", T-Project, Hangzhou, China (2025); “The Land We Long For”, Deqing Contemporary Art Center, Deqing, China (2025); "Meme to Jam", X sign space & BRITA 131, Hangzhou, China (2025); "Kaleido to 0", Art Museum of Pond Loach, Lishui, China (2025); "Unlimited Space", IDEA4MI gallery, Milan, Italy (2024); "Fortune Teller", Imagokinetics Lab, Hangzhou, China (2024); “Institutional Brown Noser: Death of Free Art as A Result of Artists Neediness”, The Delta godown, Hangzhou, China(2024).
杨豪 Yang Hao
杨豪2002年生于中国重庆，现居住于奥地利维也纳。他的作品如同白日梦，似真似假，在梦和现实中徘徊，在自我和投影间穿梭，痴迷于一些破碎、细小、私密的时刻，弥漫着孤独、忧郁、游离和迷失的空气。他喜欢在木板、织物和一些承载着时间和记忆的材料之上创作，并通过这些媒介尝试构建一种桥梁，在亲密和疏离之间，靜謐和爆发以后。
部分展览：“我们颠三倒四，万物复苏。”，Vanguard 画廊，上海，中国（2025）；“Winner of the Heart”，Kollektiv Zirkusgasse，奥地利（2024）；“Diverse Ausstellungspraxen”，Exhibit Gallery in Academy of fine arts vienna，奥地利（2024）；“Märchen”，Galerie Gruppe Motto，德国（2025）；“我觉得我疯了”，LEVANTART 阆风艺术，中国（2025）。
Yang Hao was born in Chongqing, China, in 2002, and currently lives in Vienna, Austria. His work unfolds like a waking dream, hovering between the real and the unreal, drifting along the threshold of dream and reality, and moving fluidly between the self and its projections. It lingers on fractured, fleeting, and deeply private moments, suffused with an atmosphere of solitude, melancholy, dislocation, and quiet loss. He often works on wood panels, textiles, and other materials that bear the traces of time and memory, using these surfaces to construct a kind of bridge--one that stretches between intimacy and distance, and emerges in the aftermath of stillness and eruption.
Selected exhibitions: "We are topsy-turvy, all things revive", Vanguard Gallery, Shanghai, China(2025); "Winner of the Heart", Kollektiv Zirkusgasse, Austria (2024); "Diverse Ausstellungspraxen", Exhibit Gallery, Academy of Fine Arts Vienna, Austria (2024); "Märchen", Galerie Gruppe Motto, Germany (2025); "I Think I’m Going Crazy!", LEVANTART, China (2025).
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